I dare say that there is probably a greater number and concentration of performing arts spaces in NYC than anywhere else on earth. Discovering the unique identities of each has certainly been one of the joys of my time in this city. Galapagos Art Space is located in the DUMBO area of Brooklyn (under the Manhattan and Brooklyn bridges). It is in an area that has become quite upscale quite quickly. While the exterior of the art space is rather unassuming, the interior is certainly unique. A very small entry-way leads into what serves as a ticket counter. The seating area resembles an upscale night club with rounded padded banquette seating. Each banquette is on its own "island" surrounding by a blackwater -- hence galapagos. There is also mezzanine seating and some seating at the back of the space. Like (le) Poisson Rouge, there is a bar where money is made selling high-priced drinks. My only complaint about the space is that people entering from the outside can often be heard. This might be fine for casual music events but for a serious program, the distractions of noise can be bothersome.
On December 5, the string quartet Chiara presented the second of a year-long series of programs called Creator/Curator. The quartet "commissioned four stellar young composers to write a new work and to curate the concert on which the new work is to be performed,choosing music that illustrates their influences, inspiration, and heritage."
The word "curate" seems to have joined the word "artisan" as a buzzword to be applied freely in some instances. For example, I read an advertisement for a restaurant that pointed out that the selections for a particular Thanksgiving Day dinner were curated by the chef. I do get the point but I think the word risks being overused and, probably, misused.
For this program, the commissioned composer, Huang Ruo, chose Henryk Gorecki's String Quartet No. 2 (Quasi Una Fantasia) as the only companion piece. It was interesting that nothing in the composer's program notes, biography or verbal comments at the program revealed any special relationship between his work and the Gorecki, although similarities between the two works were obvious at times on listening to the works.
This was the second time I had the opportunity to hear a Gorecki work performed live. (His Symphony No. 3 is his best-known work.) Earlier in my blog I reflected on another Gorecki work performed by the Omni ensemble. Gorecki's east European, and specifically Polish, heritage is obvious in his later works. Although cast in four movements, true to its title this work moves continuously from one movement to the next and contains many subsections. The debt to Beethoven's late string quartets is strong. At one point there is a very moving reference to the slow movement of Beethoven's seventh symphony. Gorecki takes his time with what he has to say. He uses very small ideas to create large musical canvasses. He deliberately wants the listener to experience the music in the moment as opposed to anticipating what will come next. He often uses recall to unify the work and to give it coherence. The instruments are used brilliantly in solo, duet, trio and quartet roles. His writing often calls for supreme intonational control on the part of the performers. This was handled beautifully by the performers who wrapped their minds, hearts and technique around the work. Folk elements appeared from time to time. Performers and listeners who derive meaning from Beethoven's and Bartok's quartets will appreciate this music.
During a break (intermission), as people shuffled about, recorded music was piped in--piano music of Satie. While Satie often intentionally created what has been referred to as "wallpaper music," that is, patterned music that shrinks into the background, this music was both substantive enough and performed well enough to take its place on stage. After the program, I asked the commissioned composer what the music was (I was pretty certain but wanted confirmation) and was surprised that he did not know. I did receive confirmation from the sound technician. I think it would have been good if the commissioned composer had either selected music for the break (which, of course, might be considered an insult to the composer) or, even better, composed background music that fit in with the program but was still just that -- background music.
After the break, it was time to hear the commissioned work. The composer briefly commented on the work, saying pretty much what he said in the published program notes. It would have been nice if had commented just a little as to why he chose the Gorecki quartet.
His quartet, entitled Calligraffity, is a three-movement work that, like the Gorecki, moves continuously from one movement to the next and also contains tempo an character changes within each movement. The work really comes across as a one-movement work. For this performance, the quartet performed behind a sheer screen upon which was projected a visual element created by Juniper Shuey. This very simple projection looked like a plume of white smoke that very slowly took on different shapes (at one point it resembled, to me at least, a tree). It was definitely intended to be unobtrusive and quietly atmospheric. Many of Gorecki's techniques can be heard in this work, especially the driving rhythmic energy in spots along with the very sensitive writing for instruments in different combinations. At one point, I thought I heard sounds that resembled an Asian work I had heard a long time ago called "Nesting Cranes." I asked the composer about this and he claimed not to have used any Asian elements consciously. His biography does indicate that he has employed Chinese folk music elements in his work and he is of Asian descent. In his notes, he comments that the title of the work is intended to communicate what "seem to be radically different types of artistic writing." Calligraphy is associated with elite, educated Chinese, while graffiti is associated with American "street" culture. Therefore, it is to be assumed that the work contrasts East and West, high and low art, and expressions of power. It was interesting to note the composer comment that the piece consists of a single "unbreakable line" similar to the way a calligrapher's pen never leaves the page as a he or she creates a character or image.
Galapagos is definitely on my of venues to keep up with in the future.
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